“Florida's Youthful Oldster”: Erno´ ´ Dohnányi in Tallahassee

“Florida’s Youthful Oldster”: Erno´ ´ Dohnányi in Tallahassee

Veronika Kusz

Institute for Musicology of the Florida State University Hungarian Academy of Sciences 1014 Budapest, Táncsics u. 7. Tallahassee, FL 32306 www.zti.hu www.fsu.edu [email protected] Adviser: Charles E. Brewer

As a PhD-student in musicology at the Franz Liszt Academy of Music, I spent nine months in Tallahassee at Florida State University. The project of my Fulbright-grant was to study Erno ´ ´ Dohnányi’s American period. For certain political and musical reasons, Dohnányi’s works have been long neglected by the Hungarian musical establishment. Recently, however, there has been a growing interest in his œuvre by American and Hungarian musicians and musicologists. In addition to the research connected to my PhD-dissertation, my main project was to process sources from the Dohnányi-house. This work was a cooperation of the FSU, the Dohnányi Archives of Budapest, and Dr. Seàn Ernst McGlynn, Dohnányi’s grandson and legal successor. The most important result of my stay was that as a symbol linking the American and Hungarian branches of Dohnányi-scholarship, Dr. McGlynn sent to Hungary with me 500 original Dohnányi-documents of great value and gave them on long-term loan to the Dohnányi Archives in Budapest.

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1. Introduction: a trick that few composers can do – sit down to a piece of music as an old man and finish years younger.”5 The admiration was not Erno´ ´ Dohnányi and the unjust: Dohnányi’s American period was problems of the very active in several aspects, although Dohnányi-reception the composer was already 72 years old when he settled down in Tallahassee, “Florida’s youthful oldster […], last of the in 1949. Until his death in 1960, he was great Romantic Age masters […] shows no a busy and popular Professor of Piano signs of slowing down. He gestures frequently and Composition at the Florida State with hands like sculpted marble combining University Music School. He also visited the restless energy of a college student with the other universities as a guest professor and quiet wisdom of 81 years devoted to composing, lecturer (e.g. Ohio University and Kansas conducting and teaching music”1 – wrote an University). Additionally, he appeared on American music reviewer in 1958, in an the concert stage more than 120 times absolutely admiring and appreciative tone during this decade. He gave concerts as a generated by the old Dohnányi’s unlikely pianist, chamber musician, and conductor, vigour. This remark was not unique for too, mainly in smaller university towns. how the composer was received during He also had time to compose: nine pieces his last period: the old maestro’s dynamism with opus number, and several minor was praised with the most variegated and compositions (without opus number, witty words by the American reviewers. revisions, and unfinished works) were “Dohnanyi met all demands with confidence born in his workshop.6 and composure, with a technical equipment Erno´´ Dohnányi (1877–1960) was one practically equal to a 20-year-old’s”2 – of the most important personalities in wrote one critic. Someone else wrote: Hungarian music history in the 20th [Dohnányi is] “able not only to move about century. After his childhood in Pozsony the stage with the fluttering vivacity of a (now Bratislava, Slovakia), he became young sparrow, but play with all the vigor and a student at the Franz Liszt Academy of spirit of a keyboard artist beginning a career.”3 Music in Budapest, majoring in piano and Others described the phenomenon as follows: “he threw aside his 76 years like an Atlantic City Press (April 10, 1953). old cloak,”4 or: “Ernst von Dohnanyi turned 5 Seymour Raven, “Reiner Baton Masterful in Brahms 3rd Symphony,” Chicago Daily Tribune (November 6, 1954). 1 Clarence Jones, “Florida’s Youthful Oldsters: Last of the Romantic 6 His major American works are: Concerto for Violin and Orchestra Age Masters Not Slowing Down,” The Florida Times-Union (op. 43, 1949–1950); Three Singular Pieces for Piano (op. (October 5, 1958). 44, 1951); Concertino for Harp and Orchestra (op. 45, 1952); 2 Doris Reno, “Sevitzky, Dohnanyi Cheered: Concert Brings Ovation at Stabat Mater (op. 46, 1952–1953); American Rhapsody (op. 47, Beach,” The Miami Herald (February 9, 1959). 1953); Aria and Passacaglia for Flute (op. 48/1&2, 1958–1959); 3 Felix Borowski, “Dohnanyi Plays With Brilliance,” Chicago Sun- revisions of Symphony in E major (op. 40, 1953–1956); Twelve Times (November 10, 1954). Short Studies for the Advanced Pianist (1950); Daily Finger 4 William McMahon, “Enthusiastic Crowd Hails Unit’s Debut,” Excercises for the Advanced Pianist (1959–1960).

70 Erno´´ Dohnányi in Tallahassee composition. He was the first pupil of the He was also criticized in musical – institution who later became a world- aesthetic and music-political – aspects. famous musician; his career as a piano He was accused of hindering Bartók, virtuoso started in 1897. In his younger Kodály, and younger, modern composers. years, he lived in Vienna, and then moved His “conservative” compositional style to Berlin as professor at the Königliche and aesthetic view seemed to be also Musikhochschule. During World War I, problematic for his contemporaries he came back to Budapest, the city that and for posterity, as well. Dohnányi’s always served as a base for him, until his style developed under the influence emigration in 1944. Beyond his career as a of late German romanticism. He was composer, pianist–dirigent, and professor, not interested in folk music, nor did he what made him the most prominent figure have other modern musical ambitions in Hungarian music was that he obtained (dodecaphony, serialism); his works were the three leading positions in the 1930s. isolated from the different musical trends He was elected musical director of the of the first half of the 20th century. Budapest Philharmonic Society Orchestra As a consequence, in the first three or in 1919, then he became director of the four decades following Dohnányi’s death, Music Division of the Hungarian Radio only one monograph was published in 1931, and he served as director of the (written by a slightly prejudiced Dohnányi- Academy of Music in 1934. pupil)7 and – sporadically – some studies Holding leading musical positions were published, as well;8 so his oeuvre was not only meant power and exceptional almost completely neglected by musicians authority for him, this later became the and musicologists. Nevertheless, most problematic motif of his life. In Dohnányi-scholarship has come through spite of his several oppositions with the an explosion-like development recently, far right-wing political forces, his person due to the political changes in Hungary and his activities became the target of and the paradigm shifts in musicology. accusations both in musical and political After the 25-year-long silence following respects. In 1945, his name was published the publication of Vázsonyi’s book, the on a non-official list of war criminals. Although he was never charged officially, 7 Bálint Vázsonyi, Dohnányi Erno´´ (Budapest: Zenemu´´kiadó, 1971. the accusations spread quickly in the 2Budapest: Nap Kiadó, 2002). musical world, obstructing his post-war 8 See for example: Imre Podhradszky, “The Works of Erno´´ Dohnányi,” concert tours in Europe and creating Studia Musicologica VI (1964), 357–373; Mária Eckhardt, “Briefe difficulties for his success in the United aus der Nachlasse Ernst v. Dohnányis”, Studia Musicologica States, too (mostly in the North Atlantic IX/3–4 (1967), 407–420; Sándor Kovács, “Dohnányi Erno´´. Mu´´vészete cities). Similarly to other composers who és pedagógiai nézetei [Erno´´ Dohnányi. His Artistry and Pedagogical emigrated, Dohnányi’s compositions were Ideas],” in A Liszt Ferenc Zenemu´ ´ vészeti Fo´´ iskola 100 éve [100 seldom played for decades in communist Years of the F. Liszt Academy of Music] (Budapest: Zenemu´´kiadó, Hungary. 1977), 184–198.

71 AY 2005-2006 renewed scholarly interest in Dohnányi 2. Description of my brought along with it the beginnings of systematic research into his work.9 research fields Moreover, this research started almost at My work during the nine-month-long the same time in Hungary and the United stay in the US was divided into three States, so the two branches could inspire areas. The first and most obvious goal each other. The most important result of of my stay was to study the musical and the international Dohnányi-scholarship non-musical sources in the Dohnányi was the foundation of the Dohnányi and Kilényi–Dohnányi Collections of Archives in Budapest by the Institute for the Florida State University’s Warren D. Musicology of the Hungarian Academy of Allen Music Library for my dissertation. Sciences and the Hungarian Ministry of The FSU Dohnányi-collection, the Education and Culture. documents of which were originally As a PhD-student in musicology and collected from the composer’s university a Fulbright-grantee, I wanted to study room and Tallahassee home (Tallahassee, Dohnányi’s American period and process Beverly Court 568), has been growing its sources. Because of the circumstances since the composer’s death. With the detailed above, my project not only served assistance of Dohnányi’s third wife, Ilona my personal purposes, but the global Zachár, as well as his step-grandson purposes of the international Dohnányi- and legal successor, Dr. Seàn Ernst scholarship, too. McGlynn, hundreds of musical sources, letters, documents, printed scores, books, scrapbooks and recordings were given to the university library.10 In 2002, sources 9 As the most important publications see: Deborah Kiszely-Papp, Erno´´ of extraordinary value were also placed at Dohnányi (Budapest: Mágus Publishing, 2001) = Melinda Berlász the FSU; these were found in the home of (ed.), Hungarian Composers no. 17 (also in Hungarian); James A. Dohnányi’s student, friend, and colleague, Grymes, Ernst von Dohnányi. A Bio- Bibliography (Westport, Connecticut–London: Greenwood Press, 2001) = Bio-bibliographies in Music no. 86; James A. Grymes (ed.), Perspectives on Ernst von Dohnányi (Lanham, Maryland–Toronto–Oxford: The Scarecrow Press, 2005); Márta Sz. Farkas (ed.), Dohnányi Évkönyv 2002 [Dohnányi Yearbook] (Budapest: MTA Zenetudományi Intézet, 2002); Márta Sz. Farkas, Deborah Kiszely-Papp (eds.), Dohnányi Évkönyv 2003 (Budapest: MTA Zenetudományi Intézet, 2004); Márta Sz. Farkas (eds.), Dohnányi Évkönyv 2004 (Budapest: MTA Zenetudományi 10 FSU, Warren D. Allen Music Library, Dohnányi Collection. It contains Intézet, 2005); Márta Sz. Farkas, László Gombos (eds.), Dohnányi 10 original autographs, 24 scrapbooks, 20 books and studies, 40 DAT- Évkönyv 2005 (Budapest: MTA Zenetudományi Intézet, 2006); Márta recordings, 300 printed scores and 500 letters. See: James A. Grymes, Sz. Farkas, László Gombos (eds.), Dohnányi Évkönyv 2006–2007 “The Ernst von Dohnányi Collection at the Florida State University,” (Budapest: MTA Zenetudományi Intézet, 2007). Music Library Association Notes 55/2 (December 1998), 327–340.

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Edward Kilényi.11, 12 At this time, almost The third area of my activity also all the Tallahassee sources are accessible belonged to the University. Although I and can be studied at the Florida State was a visiting researcher at the FSU, the University. professors of musicology let me attend The second part of my task was to some classes, so I had the opportunity catalogue and arrange the remaining to experience American musical and sources in the Dohnányi-house. This musicological university training. Within project was a common initiative of the this context, I gave some short lectures Dohnányi Archives, the FSU, and Dr. on different topics in Hungarian music McGlynn. Though a lot of documents had history (not only on Dohnányi’s works, been taken out from the Dohnányi-house but on the musical life of Hungary in the before my arrival, there were still many 1950s, the Bartók-reception in Hungary, very important records: letters (to and and Bartók’s musical prosody). My from the Dohnányis), Dohnányi’s lecture- lectures interested the FSU students and sketches, hand-written dictionaries, professors, and they greatly enhanced my calendars, official documents, ID professional discussions with them. documents, photos, and personal items. Since I found my American researches Dr. McGlynn and I decided to divide the successful and since I had the opportunity catalogued materials into three parts. A to collect personal experiences about the small portion of these remained in the circumstances of the special last scene house (personal books and objects, a few of Dohnányi’s life, I decided to change documents of little value, and photos the topic of my dissertation, and write to be restored). About 800 letters and about the composer’s American years (at documents, connecting closely to the the beginning of my Fulbright-year, my American period – and mostly written in plan was to write about a much wider English – were deposited at the FSU. The topic, Dohnányi’s variation strategies in remaining 500 documents, connecting his instrumental works). Dohnányi’s life, to earlier periods and/or written in activity, and musical works in the period Hungarian, were sent back with me to from 1949 to 1960 seem to me an area Hungary and given to the Dohnányi remarkably worth studying, for many Archives as a long-term loan by Dr. reasons. First of all, its source-material McGlynn. was preserved in one unit, and I had the opportunity to study it thoroughly, thanks �� FSU, Warren D. Allen Music Library, Kilé�nyi��–�Dohnányi�� Collection. It to my Fulbright-grant. Secondly, in my contains 15 original autographs, 2 scrapbooks, 10 books and studies, view, Dohnányi’s American compositions 120 concert programs, 500 letters and documents, photos. See: represent a very interesting and multi- Deborah Kiszely-Papp, “A Dohnányi Erno´´ Archívum első éve [The First colored slice of his œuvre (regarding their Year of the Dohnányi Archives],” in Dohnányi Évkönyv 2002, 5–23. genre, apparatus, style, and inspirational

background), which makes this period 12 FSU, Dohnányi Collection: “Letters and Documents from Dr. Seàn very exciting for a musicologist. Thirdly, Ernst McGlynn catalogued by Veronika Kusz 2005/2006.” although the American period is special in

73 AY 2005-2006 many respects, I think that it can answer 3. Importance of several questions about Dohnányi, which may remain hidden by studying only his musical sources earlier years. During these years, the The Dohnányi Collection at FSU composer had to get along in completely has many different musical sources: unusual surroundings and with a very autographs (sketches, drafts, and fair different status: in an American small copies) and printed scores of Dohnányi’s town, and not as a powerful leader or and other composers’ works. These a world-famous and popular musician, sources can answer many different but as a subordinate at a university and questions for scholars. For example, the a pianist with restricted possibilities draft of his unfinished Requiem suggests for performing concerts. His life was that Dohnányi was deeply interested determined at the same time by the in religious genres in his last period (in difficulties of his fight with the political contrast with his earlier years); his printed accusations against him and by the need to scores show us what kind of compositions adapt to his new environment, by necessity were important for him in these years; establishing a new existence. These the lecture-sketches reveal his formal factors contributed to a difficult situation conception of Beethoven’s piano sonatas; and probably affected his compositional the revisions of his Symphony in E major works, too. In my dissertation, I would tell us about his compositional method like to give a thorough and objective and thinking, etc.13 survey of his American activities, and One of the most interesting pieces of look for answers to such questions as: the collection (in the “Kilényi–Dohnányi” what does “American period” mean in part) is the unit of sketches, drafts and fair Dohnányi’s oeuvre?; in what respect are copies of the Passacaglia for Solo Flute, his American compositions characterized op. 48/2 (see facsimile).14 The piece, by the compliance with his new situation, which is the ultimate opus of the oeuvre, or how do they fit with his earlier style?; draws attention to itself in many respects. how did the hardships affect his creative Firstly, it is quite unusual because of work?; how did his financial–existential the choice of instrument, which is defenselessness determine his activities unprecedented in the oeuvre. (The choice and how did his American years influence had biographical reasons: Dohnányi made his posthumous reception? the acquaintance of the Ohio University

13 About the revisions of his Symphony in E see: James A. Grymes, “Compositional Process in Dohnányi’s Symphony in E Major, op. 40,” in Grymes (ed.), Perspectives on Ernst von Dohnányi, 139–164. 14 The illustrations are published here with the kind permission of Dr. McGlynn and the FSU Warren D. Allen Music Library (photo) and the FSU Warren D. Allen Music Library (facsimile).

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President John Baker’s family in 1949, secondly because Dohnányi obviously and they became good friends. One of found pleasure in establishing different Baker’s daughters, Ellie, was a flute-player tonal variants (it is clear from the source – her playing and personality was the material that he also sketched the inspiration for Dohnányi’s last pieces for harmonization of the theme). Because flute.) Secondly, its style is also curious: of these and other aspects, it seems that in spite of Dohnányi’s “conservative” Dohnányi was experimenting, but the test attitude, the first half of the passacaglia- was not really successful. It is a question, theme forms a dodecaphonic row however, whether the composition was (Reihe). Though the entire piece is not really intended to be “successful” in this dodecaphonic, the passacaglia-structure sense, or if Dohnányi let his musical (repeating, closed sections) and the other thoughts abandon the atonal theme for twelve-tone sections of the piece have a a more familiar style, suggesting that curious, atonal, modern, not Dohnányi- dodecaphony was not an option in his like sound and character to them. On viewpoint, at least, not for him. The basic the other hand, the piece is closed by a element of the composition, the obvious definitely tonal code section, which makes and conscious gag that Dohnányi ends the atonal antecedents irrational and odd. a twelve-tone, serious passacaglia with Its significant source-material is also quite a tonal and immoderate coda, should exceptional (since only a few musical definitely not be contested. But it might sources remained from Dohnányi), be complemented by the observation that but its existence not only increases the maybe he did not consider the more up- mysteriousness of the piece, but helps to to-date compositional techniques only answer some questions, as well. First of with negligence, and that his worries about all, it suggests a struggling compositional the reception of his œuvre after his death process. During the compositional process, left their mark on his way of thinking. the composer seemed to be dissatisfied for So, according to the source material a long time with connecting the variations, (and other musical characteristics) of the and he had difficulties in making the piece, it seems that, beyond the fact that piece a continuous progress. He also had the Passacaglia for Flute is an obvious flip problems with the creation of the large- against the modern music, it also shows scale form: the order of the variations – consciously or not – the old composer’s seems to be almost accidental, and the struggles.15 form is inconsistent and static. On the other hand, although the composition is built of eight-measure-long units until the recapitulation, this has nothing to do with dodecaphony, first because the passacaglia 15 This is a summary of my study on the Passacaglia, see: “Pure notes are even left out of some variations, music? Dohnányi’s Passacaglia for Flute (op. 48. nos. 2),” Studia so they are not of basic importance, and Musicologica 48 /1–2 (2007), 79–99.

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4. Importance of We love our new homeland.16 Dohnányi’s American net of non-musical sources relationships can also be mapped by his correspondence. It seems that he felt it Letters can also provide additional important to be in touch with his family material to answer certain questions in in Hungary; with Hungarian emigrants; connection with Dohnányi’s last period. with Americans whom he already knew In the following, it is demonstrated in Hungary; and with his university by some selected passages how our colleagues. A significant amount of knowledge about a creative life-period the correspondence is letters from his can be enriched with personal and official students, who wrote diligently to their letters. FSU professor after leaving Tallahassee. The Dohnányis’ settlement in the US They discussed different musical and was not without difficulties in financial, personal problems with Dohnányi, and political and existential respects, as well. they reported on their lives and on their Ilona von Dohnányi’s touching letter to professional problems. They often asked violinist Endre Zathureczky, who was questions (e.g. regarding their concert considering emigrating from Hungary programs, or literature about a paper), after the revolution in 1956, is a document and they wrote about concert experiences. expressing the personal tone of their The topics of the letters point to struggles: “God is my witness, I really would Dohnányi’s thoughts and musical ideas, like to give you good advice, but who sees the as well. A student of his, for example, future, who knows what’s best? I can say one thing with complete certainty: don’t get excited, try to stay completely calm. Starting a new life 16 “Isten látja lelkem, hogy szeretnék valami nagyon jó tanácsot adni, needs a lot of moral strength [...] You will need dehát ki láthat a jövo´´be, és ki tudhatja igazán, hogy mi jó? Legfeljebb every single bit of your nervous system to build egyetlen egyet mondhatok teljes bizonyossággal – ne izguljon, up a new existence. Regarding the question, próbáljon teljesen nyugodt lenni. Mert új életet kezdeni magában whether you would go back to Hungary, even véve is nagyon nagy lelkiero´´t igényel [...] Idegrendszerének minden the day before yesterday, I would have hesitated porcikájára szükség lesz, ha valóban új életet akar felépíteni. Arra to advise you anything, because I don’t know vonatkozólag, hogy visszamenjen-e, talán tegnapelo´´tt még haboztam how you can take root in a strange country, volna valamit is tanácsolni; ugyanis nem tudhatom, hogyan tud and how much you appreciate things you had gyökeret verni idegenben, s mennyire értékeli mindazt, amit odahaza at home. When we got away from Hungary, bírt. Mikor mi eljöttünk, nem volt más választásunk [...] Viszont we didn’t have another choice [...] But the first irtózatosak voltak az elso´´ évek, az üldöztetés itt is, amiro´´l tud, stb. years were horrible, the persecution here, etc. Most azonban azt mondhatom, hogy elégedettek és boldogok vagyunk. But now, I can say, we are satisfied and happy. Nem vagyunk gazdagok [...] de van otthonunk, mit szeretünk, vannak We are not rich [...], but we have a home that barátaink, amerikaiak, kik szívökbe fogadtak, s kik hu´´ségesen állnak we love, we have friends, Americans, who took az oldalunkon. Szeretjük az új hazánkat.” Ilona von Dohnányi’s letter to us into their heart, and who are faithful to us. Zathureczky, January 29, 1957 (FSU, Dohnányi Collection: “McGlynn– Kusz,” no. 707).

76 Erno´´ Dohnányi in Tallahassee asked his advice for the compilation of In some exceptional cases, Dohnányi her concert program, and her question himself confessed his musical ideas in refers – indirectly – to the consciousness his letters, too. He did not like to speak of Dohnányi’s own program-concept, or write about his works or his aesthetics. and to his interest in the variation form His opinion about the younger generation and strategies. She wrote the following: of composers, expressed in his letter “I have been asked to serve on a panel for the to FSU Dean Karl Kuersteiner, while East Central Division of the Music Teachers discussing the conditions of his position National Association convention in February. at the university in August of 1949, is […] I am going to play three variation pieces, a very valuable document. Dohnányi all built on the same variation principle – wrote: “There are nowadays very-very few The King’s Hunt by Bull (which I did on the composers in the whole world who should be seminar), La Campanella, and one of Barber allowed to compose. […] Now I don’t mind Excursions. Of course, I expect to do a little »modernity« if the composer knows his speaking along with the playing. What do you »business«, but generally he knows nothing, think of that?”17 generally he hardly can harmonize decently One can learn a lot about Dohnányi’s a simple melody not to speak of his unability reputation and popularity from his to solve the easiest task of counterpoint. students’ letters. Janet Sitges’ farewell Here most probably I shall want an assistant letter is a good summary of their gratitude teacher; at least my demand will be, that the and warm feelings: “I shall enjoy my year student is well acquainted with the rules of here – but I can hardly explain my feelings harmony and the elements of counterpoint.”19 about leaving you. To say the very least, it is He rarely wrote about his feelings about upsetting. My two years of study have been his compositions. Because of this kind of heaven for me – but you already know that, timidity, his letter to Ellie Baker about I am sure. You couldn’t help but have felt that the Passacaglia for Flute is exceptional, and all this time. I can scarcely use so weak a term affirms our interpretation, detailed above, as »thank you«… it doesn’t nearly express that this short and odd piece is not only my real appreciation.”18 Not only were his a joke, but also expresses deep feelings. students were passionately fond of him, He wrote: I must confess that I love that he received many letters from people Passacaglia very much and I would have been unknown to him. They asked different disappointed if you would not like or would questions about music and pianism; or have found it impossible to play. And that you they asked for his signature and photo; get fond of it the more you play, it gives me or they simply assured him about their still more satisfaction.20 appreciation.

17 Catherine Smith’s letter to Dohnányi, October 21, 1955 (FSU, �� Dohnányi’s letter to Karl Kuersteiner, April 8, 1949 (FSU, Dohnányi Dohnányi Collection: “McGlynn–Kusz letters,” no. 652). Collection: “McGlynn–Kusz letters,” no. 262). 18 Janet Sitges’ letter to Dohnányi, August 8, 1955 (FSU, Dohnányi 20 Dohnányi’s letter draft to Ellie Baker (FSU, Kilényi–Dohnányi Collection: “McGlynn–Kusz letters,” no. 460). Collection, “Letters 1958–1960,” no. 64).

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5. McGlynn-documents What I consider the most important result of my American research is not to Budapest what I accomplished, but the noble gesture by Dr. McGlynn to give these As I mentioned above, at the end of my sources to the Hungarian Dohnányi American year, more than 500 original Archives. This event is very significant Dohnányi-documents from Dohnányi’s for the Dohnányi-scholarship in at least house were sent to Budapest with me three respects. Firstly, the material is by Dohnányi’s step-grandson and legal mostly connected to Hungary and written successor, Dr. Seàn Ernst McGlynn. in Hungarian, so Hungarian scholars The group of documents, which is now can use it better and more effectively. catalogued and ready for scholarly use Secondly, the collection of the Dohnányi in the Dohnányi Archives, consists of Archives in Budapest has relatively few eight parts: 1) Dohnányi’s letters (1939– original documents, so the value of the 1959; 54 items); 2) Ilona von Dohnányi’s collection was remarkably increased letters (1941–1948; 31 items); 3) Mátyás by the McGlynn-sources. Finally, Dr. Dohnányi’s (composer’s son) letters McGlynn’s gesture can be regarded as (1942–1944; 17 items); 4) letters from a symbolic one, linking American and Dohnányi’s sister (1949–1959; 175 items) Hungarian Dohnányi-research. It not and documents sent by her (1889–1959; only strengthens Hungarian scholars’ 56 items); 5) letters from Ilona von relationship with Dohnányi’s successors Dohnányi’s parents (1954–1959; 81 items); in Tallahassee, but it is an assurance of the 6) Dohnányi’s calendars (1938–1959; 21 future cooperation of musicologists and items); 7) the Dohnányis’ IDs, passports librarians from the two countries. I also (1936–1950; 11); 8) a scrapbook (1945– consider it to be the most important result 1946; 31 items); 9) photos (1946–1960; 36 of my project, because helping the mutual items). All the documents are of extreme understanding between Hungary and value; their publication and a study about the US is the final goal of a Hungarian their importance are in progress. Fulbrighter.